1. The evolution of the Circus Industry
1.1. The Circus was created in 1768
1.1.1. Classical circus to consist of four elements
1.1.1.1. Equestrian Acts
1.1.1.2. Clowns
1.1.1.3. Acrobats
1.1.1.4. Jugglers
1.1.2. The development of the traditional circus
1.1.2.1. 19th and 20th century, the circus conjures an image of drifters and dreamers.
1.1.2.1.1. With gaudy clothes, aggressive hawkers and a standard routine.
1.1.2.1.2. 19th century
1.1.2.2. Greastest Show on Earth
1.1.2.2.1. After the Depression and World War II
1.1.3. Traditional Circus Industry
1.1.3.1. The numbers of acts were carried over from one year to the next, in general a given show would only be on tour for a year.
1.1.3.2. The logistical requirements of setting up and tearing down the sites.
1.1.3.2.1. The troupe traveled overnight between towns and was ready to perform for an evening show
1.1.3.3. To supplement the core worforce of roustabouts and elephants traveling with the show, the circus hired local young people and the unemployed inexchange for free tickets.
1.1.3.3.1. Revenue
1.1.3.4. Marketing
1.1.3.4.1. Normally take place as the circus is coming into town.
1.1.3.4.2. The circus tents and the performers themselves are significant components of the marketing mix.
2. Even a Clown Can Do It: Cirque du Soleil Reinterprets the Performing Arts
2.1. History
2.1.1. In 1984, Guy Laliberté set out to reinvent the circus industry.
2.1.1.1. From its original incarnation as a troupe called 'Le Club des Talons Hauts'
2.1.1.1.1. Created by a group young street performers who had pooler their talents
2.1.1.2. The brainchild of Guy LaLiberté was based on a totally new concept: a mix of the circus arts and street entertaiment featuring wild costumes, staged under 'magical' lighting and set to original music.
2.1.1.2.1. It was part of a movement that many call the New American Circus.
2.1.2. Almost 30 million people saw one of the troupe's productions between 1984 and 2000. As productions appared in 120 cities around the world.
2.1.2.1. With a US $1.7 million contract from the provincial government of Quebec. Closing the first season with a surplus of US$50,000, Laliberté decided to promote his new show and invested heavily in a new tent and other equipment.
2.1.2.1.1. Finished 1985 to critical acclaim, Cirque du Soleil was nevertheless US$750,000 in debt for invesment and equipment
2.2. The content and style of Cirque du Soleil
2.2.1. The show is a tematic line, though frequently rather vague (ands intentionally so), is manifested throughout the show in costumes, music and the types of acts performed.
2.2.1.1. 'In the movement you see the music and in the musci you hear the movement'. Cirque du Soleil represents a true mixture of the performing arts.
2.3. The Business
2.3.1. The vision was on more artistic than commercial.
2.3.2. The family nature of both the Pickle Family Circus and the Big Apple Circus was more remisniscent of a hippie commune than a typical start-up.
2.3.3. Quidam is exemplary of the typical Cirque du Soleil show.
2.3.3.1. It was produced for approximately US$5.9 million and first stages in Montreal in April 1996.
2.3.3.1.1. Following a three years tour of North America. Expected annual gross revenues at the start of the tour were US$14.6 million.
2.3.4. Revenue
2.3.4.1. The show derives the great majority of revenues from ticket sales, though sponsor partners and concession sales.
2.3.4.2. Offer diferent approach to ticket pricing.
2.3.4.3. Family event with free or discounted tickets for children or other age groups.
2.3.4.4. In 2001 'Dralion' show in New York tickets sold at US$65-85, VIP packages including food offered in a separate pre-show gathering tent sell at up to US$230 per seat. Shows are regularly sold out and boast the highest seat occupancy in the industry, consistently approaching 85-95%.
2.3.4.5. Sponsorships are a low-key but significant source of revenue for Soleil.